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We analyze the geometrical structure of the astonishing Nasca geoglyphs in terms of their fractal dimension with the idea of dating these manifestations of human cultural engagements in relation to one another. Our findings suggest that the first delineated images consist of straight, parallel lines and that having sophisticated their abilities, the Nasca artists moved on to the design of more complex structures.
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Castrejón-Pita et al. (2003) studied this question.
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